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Contemporary Guitar 7 – Eugenio Mirti

Recently I’ve spent quite a long time in looking for new ways to play old stuff; I’ve been intrigued by quartal voicings applied to a II-V-I progression, and I found out these beautiful fingerings, here presented in the key of Gmajor:

Notice that you can move up and down the neck from one position to another on any of the chords. These positions sound incredibly fresh especially if the lowest voice is not the root of the chord. Also notice that the D7 (and B7 as well) fingering implies b5, b9, #9, and 13.

Here’s an example written on the first 16 measures of “Autumn Leaves”.